Catherine took this picture.
Showing posts with label Gallery Visits. Show all posts
Showing posts with label Gallery Visits. Show all posts
Tuesday, 29 May 2012
Visit to Chatsworth
This was a super visit - the Caro's were wonderful and the art in the house both historical and modern were a real inspiration. There were some really great juxtapositions of work too. A great day out.
Sunday, 4 March 2012
IKON EXHIBITION
I went to the IKON gallery in Birmingham yesterday to see the Hamish Fulton Walking in Relation to Everything from which these photographs are taken. I thought that they referenced John Baldessari's work from the 1960s which I had seen in Barcelona a couple of years ago. I had thought that they might be useful for my project ... not sure now.
However, I thought that some of Sarah Browne's pieces in How to Use Fool's Gold were quite interesting:
Here the map of France has been totally cut out of the composition.
I have spent a good part of today scanning and preparing images for my website.
Sunday, 5 February 2012
Lost in Lace
This is a superb exhibition at the Gas Hall of BMAG - I originally went in Nov then again in Feb. The weblink is Lost in Lace Exhibition
Friday, 28 October 2011
Degas & the Ballet - Picturing Movement
Saw this exhibition on Monday with Catherine. Really finely put together with alot of themes brought in eg photographic innovation, ballet, movement etc and how they were portrayed. The RA had sourced alot of beautiful completed works (both oil and pastel) as well as a myriad of studies and it was really interesting to see the process at work.
Monday, 18 April 2011
Where does the time go (Part 4)
Lesson 1 - do not upgrade your computer in the middle of getting 'stuff' ready for my Negotiated module which is due in mid May. Anyhoo ....
Went to Leamington on Sat to take more photographs for my Negotiated module and then over to Compton Verney as (although I volunteer there) I've not had the opportunity to see the Alfred Wallis & Ben Nicholson exhibition. From the exhibition leaflet "AW experiences at sea as a coastal fisherman, and then as a marine scrap merchant, informed and shaped his art. Wallis began painting 'for company' at the age of 68 after the death of his wife. The younger Ben Nicholson, however, as already an established member of a circle of modern artist by the time he met Wallis in 1928. Wallis' singular vision had a particular impact on Nicholson's own work".
These are two postcards from the exhibition - the top is Three-masted ship near lighthouse 1928-30 (AW101) and below White houses - Hales Down, near St Ives 1930-32 (AW47) both from Kettle's Yard, University of Cambridge.
This is what I wrote at the exhibition "what I really like about Wallis' work is the rhythm of the pictures, whether it is the sails (eg Grey sailing boat) or the Boats in the harbour which is an absolutely stunning picture. This rhythm causes a movement across the board. Obviously his details of boats are accurate and well-drawn so he is able to convey what it is really like to be at sea. The land pictures also appeal with their single repeated shapes and small repeated touches (eg ::::::::::). His use of paint - texture and colour is beautiful. I feel that my own work has resonances with his.
Went to Leamington on Sat to take more photographs for my Negotiated module and then over to Compton Verney as (although I volunteer there) I've not had the opportunity to see the Alfred Wallis & Ben Nicholson exhibition. From the exhibition leaflet "AW experiences at sea as a coastal fisherman, and then as a marine scrap merchant, informed and shaped his art. Wallis began painting 'for company' at the age of 68 after the death of his wife. The younger Ben Nicholson, however, as already an established member of a circle of modern artist by the time he met Wallis in 1928. Wallis' singular vision had a particular impact on Nicholson's own work".
These are two postcards from the exhibition - the top is Three-masted ship near lighthouse 1928-30 (AW101) and below White houses - Hales Down, near St Ives 1930-32 (AW47) both from Kettle's Yard, University of Cambridge.
This is what I wrote at the exhibition "what I really like about Wallis' work is the rhythm of the pictures, whether it is the sails (eg Grey sailing boat) or the Boats in the harbour which is an absolutely stunning picture. This rhythm causes a movement across the board. Obviously his details of boats are accurate and well-drawn so he is able to convey what it is really like to be at sea. The land pictures also appeal with their single repeated shapes and small repeated touches (eg ::::::::::). His use of paint - texture and colour is beautiful. I feel that my own work has resonances with his.
Thursday, 31 March 2011
Compton Verney
Started my volunteer position at CV this week which was great fun. They have a very good system of moving stewards around on a regular basis so I was in the Naples Gallery then ticket checking then the Folk Art and Lambert Marx Galleries. I've been to CV on a number of occasions but of course have only scratched the surface of the exhibits but I was quite pleased to be able to answer a query about Nailsea Glass. Of course, I've not been to see the Wallis and Nicholson exhibition yet so will have to go (what a shame to be forced into visiting such a lovely place) when I'm not working.
Thursday, 17 March 2011
Tate Britain
Went up to London with my friend Catherine to spend the day at the Tate.
We had an excellent tour from one of their volunteers who showed us some of her favourite pictures. An Elizabeth I and The Cholmondeley Ladies 1600-10 which were both very appealing. The Millais Ophelia and then The Deluge as a commentary on the Japan Tsunami. She was very impressive both from the point of view of her knowledge and also her love of the pictures she chose. Apparently the volunteers are allowed to make their own choices of paintings to talk about which is most admirable.
We met her again at a curator talk about one of the Tate's Spencers - Zachiarias & Elizabeth - which, although I really like his work, I couldn't get my head round. We then went to the Watercolour exhibition which was a curate's egg (ie good in parts) - felt that they had lost the plot half way through which was a pity ... then to the Susan Hiller "juxtaposes knowledge derived from anthropology, psychoanalysis and other scientific disciplines with [unimportant] materials like postcards, wallpaper, popular movies and internet postings, balancing the familiar and the unexplained and inviting the viewer to participate in the creation of meaning". It took a while to get to grips with what she was saying but by the time we got to the Witness 2000 which is an installation of speakers which transmits a wide variety of languages explaining about a encounter with UFOs. By moving in amongs the installation you get the information coming from all directions and this gave us an opportuntity to become more in tune with her work. Definitely worth exploring her ouvre further.
We had an excellent tour from one of their volunteers who showed us some of her favourite pictures. An Elizabeth I and The Cholmondeley Ladies 1600-10 which were both very appealing. The Millais Ophelia and then The Deluge as a commentary on the Japan Tsunami. She was very impressive both from the point of view of her knowledge and also her love of the pictures she chose. Apparently the volunteers are allowed to make their own choices of paintings to talk about which is most admirable.
We met her again at a curator talk about one of the Tate's Spencers - Zachiarias & Elizabeth - which, although I really like his work, I couldn't get my head round. We then went to the Watercolour exhibition which was a curate's egg (ie good in parts) - felt that they had lost the plot half way through which was a pity ... then to the Susan Hiller "juxtaposes knowledge derived from anthropology, psychoanalysis and other scientific disciplines with [unimportant] materials like postcards, wallpaper, popular movies and internet postings, balancing the familiar and the unexplained and inviting the viewer to participate in the creation of meaning". It took a while to get to grips with what she was saying but by the time we got to the Witness 2000 which is an installation of speakers which transmits a wide variety of languages explaining about a encounter with UFOs. By moving in amongs the installation you get the information coming from all directions and this gave us an opportuntity to become more in tune with her work. Definitely worth exploring her ouvre further.
Wednesday, 16 March 2011
Compton Verney
I've been accepted as a gallery volunteer at Compton Verney near Stratford upon Avon and have been undertaking training over the past few days. Take a look at their website on http://www.comptonverney.org.uk/ for details of the house and grounds. The gallery opens for the season on 26 March with two exhibitions - Alfred Wallis and Ben Nicholson which explores their relationship, Wallis' unique vision and his influence on Nicholson focussing on 1920-1940. The second exhibition is Wool work : A sailor's art starting with Compton Verney's items from its own Folk Art collection.
One other thing (apart from the development of the Capability Brown grounds) which I found really interesting was a Collection Intervention called What the folk say which runs all season to 11 December which sees items from Compton Verney's British Folk Art collection appearing in unexpected places around the main collections and the building as a whole. The staff and volunteers who attended the Training sessions found these juxtapositions of great interest causing much discussion about the objects and their positioning!
One other thing (apart from the development of the Capability Brown grounds) which I found really interesting was a Collection Intervention called What the folk say which runs all season to 11 December which sees items from Compton Verney's British Folk Art collection appearing in unexpected places around the main collections and the building as a whole. The staff and volunteers who attended the Training sessions found these juxtapositions of great interest causing much discussion about the objects and their positioning!
Birmingham Museums and Art Gallery
The Poetry of Drawing: Pre-Raphaelite Designs Studies & Watercolours.
Really enjoyed this exhibition at BMAG which is on from 29 Jan - 15 May before it tours to Sydney. "The Pre-Raphaelite Brotherhood were a group of radical young artists who banded together in 1848 and revolutionalised British art. They challenged the art of their own day and helped shape later movements such as Aestheticism, Symbolism and Art Nouveau". BMAG leaflet.
It was really interesting to see a whole range of media together - drawing & design; textiles, stained glass; ceramics and paintings, and investigate how they were put together. Fortunately I went to The Tate two days later and was able to see (for instance) John Everett Millais' final painting of Ophelia after seeing the beautiful studies he had made of Elizabeth Siddal.
We really have an amazing resource in BMAG.
Really enjoyed this exhibition at BMAG which is on from 29 Jan - 15 May before it tours to Sydney. "The Pre-Raphaelite Brotherhood were a group of radical young artists who banded together in 1848 and revolutionalised British art. They challenged the art of their own day and helped shape later movements such as Aestheticism, Symbolism and Art Nouveau". BMAG leaflet.
It was really interesting to see a whole range of media together - drawing & design; textiles, stained glass; ceramics and paintings, and investigate how they were put together. Fortunately I went to The Tate two days later and was able to see (for instance) John Everett Millais' final painting of Ophelia after seeing the beautiful studies he had made of Elizabeth Siddal.
We really have an amazing resource in BMAG.
Walking to the IKON
On Sunday I spent some time walking from my house to the IKON gallery in Birmingham taking pictures of the streetscape and unregarded items I saw along the way.
Found a quote from Sarah Kent in Time Out re: Peter Fraser "In [Fraser's] large colour photographs, a polystyrene cup bristling with toothpcks becomes as exotic as an African fetish object, and a wave of red lino or a plastic can filled with green liquid attest to the beauty of the discarded and disregarded".
Ah ... the goal:
Saw Robert Orchardson's Endless Facade which was interesting, given his talk to us at uni recently.
His work "frequently draws on imagery from science fiction films or work by designers or architects who engage with ways of thinking about the future" referencing Superstudio from the 1970s who proposed modular structures which stretch towards infinity. I wondered if he also found the deconstructionalists like Lebbus Woods interesting. A key reference for him is Bruno Taut (whom I hadn't heard of before) who "proposed a kind of utopian architecture of crystalline forms .... made up of endlessly repeating elements"* I really liked the way that he had changed the white cube structure of the gallery making the space into his own.
*these quotes are from the IKON gallery exhibition guide.
Marjolijn Dijkman Theatre Orbis Terrarum was also being exhibited ... I found this series of photographs of interest but the threads which links them ie "Colonisation went hand in hand with mapping" (after a paragraph about Abraham Ortelius and Theatre of the World - first printed modern atlas) .... "mapping land in those days was something similar to appropriating land. Maps create an abstraction of place .... the idea of an overview of the world, seen from a god-like perspective fascinates me but it scares me at the same time". All well and good but the images didn't correspond or give the idea of a map and seemed to me to be random and not well positioned. Maybe I will go back and revisit the exhibition and review the references to the Lunar Society which, again, seemed somewhat random.
Found a quote from Sarah Kent in Time Out re: Peter Fraser "In [Fraser's] large colour photographs, a polystyrene cup bristling with toothpcks becomes as exotic as an African fetish object, and a wave of red lino or a plastic can filled with green liquid attest to the beauty of the discarded and disregarded".
Ah ... the goal:
Saw Robert Orchardson's Endless Facade which was interesting, given his talk to us at uni recently.
His work "frequently draws on imagery from science fiction films or work by designers or architects who engage with ways of thinking about the future" referencing Superstudio from the 1970s who proposed modular structures which stretch towards infinity. I wondered if he also found the deconstructionalists like Lebbus Woods interesting. A key reference for him is Bruno Taut (whom I hadn't heard of before) who "proposed a kind of utopian architecture of crystalline forms .... made up of endlessly repeating elements"* I really liked the way that he had changed the white cube structure of the gallery making the space into his own.
*these quotes are from the IKON gallery exhibition guide.
Marjolijn Dijkman Theatre Orbis Terrarum was also being exhibited ... I found this series of photographs of interest but the threads which links them ie "Colonisation went hand in hand with mapping" (after a paragraph about Abraham Ortelius and Theatre of the World - first printed modern atlas) .... "mapping land in those days was something similar to appropriating land. Maps create an abstraction of place .... the idea of an overview of the world, seen from a god-like perspective fascinates me but it scares me at the same time". All well and good but the images didn't correspond or give the idea of a map and seemed to me to be random and not well positioned. Maybe I will go back and revisit the exhibition and review the references to the Lunar Society which, again, seemed somewhat random.
Monday, 24 January 2011
Tutorial and Going to Galleries
I had a positive Tutorial with Stuart Whipps on 11 Jan discussing my work to date and the way in which I thought it might develop from the very small bricks. This included the possibility of very large construction blocks (Becco Bricks http://www.becowallform.co.uk/ as a base to mount my pictures on ...
These are the tutorial comments:
"Good progression from the starting point. You need to take the next step ASAP in order to resolve any technical issues
Last week I went up to London to see The Glasgow Boys at the Royal Academy before it closed. http://www.royalacademy.org.uk/exhibitions/glasgow-boys/ What a crush! But some great paintings. I was particularly taken with the watercolours by Arthur Melville - what technique and what colours!
I think that, as I have recently been in Tunisa, Libya and Egypt they particularly resonated with me.
After I managed to extract myself from the crowd I walked round the corner to see Aware: Art Fashion Identity (GSK Contemporary) http://www.royalacademy.org.uk/exhibitions/gsk-contemporary-season-2010 which was well worth seeing with exhibits from Grayson Perry, Alexander McQueen (part of the Joan exhibition) Gillian Wearing etc. I found the Sharif Waked Chic Point 2003 DVD which showed "fashion for Israeli checkpoints" really hit home particularly since my recent trip to North Africa.
This is from the Royal Academy website "In much of his work the Palestinian artist Sharif Waked confronts the difficulties faced by his people and the complexities of the political situation in the Middle East. In these video works, clothes designed to reveal areas of flesh are seen alongside images of Palestinian men being subjected to body searches at Israeli checkpoints. Playing on the glamour of the catwalk, Waked uses the sense of identity and dignity associated with clothing to make a powerful political comment about its removal"
I wish that I was in a place that was more in tune with fabric-based work.
A quick trip to the National Gallery to look at the amazing collection there and home.
On Sunday I was volunteer stewarding at CBSO centre for a part of the IKON Vietnam Film Festival for a showing of Dinh Q Le's South China Sea Pishkun showing the animated crashing of American helicopters (a real event in 1975) as they were trying to leave Vietnam. It was quite compulsive viewing.
These are the tutorial comments:
"Good progression from the starting point. You need to take the next step ASAP in order to resolve any technical issues
- Think about what size the blocks/prints will be
- Start to think about the edit of photography in a traditional sense".
Last week I went up to London to see The Glasgow Boys at the Royal Academy before it closed. http://www.royalacademy.org.uk/exhibitions/glasgow-boys/ What a crush! But some great paintings. I was particularly taken with the watercolours by Arthur Melville - what technique and what colours!
I think that, as I have recently been in Tunisa, Libya and Egypt they particularly resonated with me.
After I managed to extract myself from the crowd I walked round the corner to see Aware: Art Fashion Identity (GSK Contemporary) http://www.royalacademy.org.uk/exhibitions/gsk-contemporary-season-2010 which was well worth seeing with exhibits from Grayson Perry, Alexander McQueen (part of the Joan exhibition) Gillian Wearing etc. I found the Sharif Waked Chic Point 2003 DVD which showed "fashion for Israeli checkpoints" really hit home particularly since my recent trip to North Africa.
This is from the Royal Academy website "In much of his work the Palestinian artist Sharif Waked confronts the difficulties faced by his people and the complexities of the political situation in the Middle East. In these video works, clothes designed to reveal areas of flesh are seen alongside images of Palestinian men being subjected to body searches at Israeli checkpoints. Playing on the glamour of the catwalk, Waked uses the sense of identity and dignity associated with clothing to make a powerful political comment about its removal"
I wish that I was in a place that was more in tune with fabric-based work.
A quick trip to the National Gallery to look at the amazing collection there and home.
On Sunday I was volunteer stewarding at CBSO centre for a part of the IKON Vietnam Film Festival for a showing of Dinh Q Le's South China Sea Pishkun showing the animated crashing of American helicopters (a real event in 1975) as they were trying to leave Vietnam. It was quite compulsive viewing.
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